Nicolás Lamas (Lima, PE) works at the intersection of art, science, technology and everyday culture, combining diverse materials, life forms, technological artefacts and linguistic references. His sculptural assemblages deconstruct established views that determine the way we perceive, interpret and interact with the environment. By fusing and recontextualizing everyday fragments with historical artefacts, Lamas creates sculptures that blur temporal boundaries, appropriating archaeological aesthetics while drawing on digital technologies. He creates a dialogue between opposing forces to break down a strict division of disciplines and dissolve traditional notions of matter. Lamas creates a hierarchy-less interplay in which the relationship between the human body and organic, as well as inorganic matter is a recurring theme.

In "Fluid Past", Lamas brings together fragments of an iPhone with a prehistoric stone tool and a photograph within a single frame—a meeting of temporal layers that overlap in both material and meaning. Both objects express human creativity, extensions of the hand, tools for engaging with the world. Lamas stages the displacement of technologies not as progress, but as a shift in form and meaning. The components of the mobile phone—once carriers of digital communication—are laid bare and discharged, while the stone tool retains its functional clarity. Between them, a space of friction unfolds, where it is negotiated what remains when function disappears, and what endures when technology recedes. This version emphasises that the transition between objects should not be understood as rigid progress, but as dynamic, fluid transformation. The term “fluidity” points to the ongoing, non-linear change in technological and cultural meanings.